Landscape Photographer of the Year – Enter by 12 July 2015

Basic CMYK

The UK’s Landscape Photographer of the Year competition opens for entries


Could you be the ninth holder of the title, ‘Landscape Photographer of the Year’ and win the top prize of £10,000? The search is now on to find the new winner of one of the nation’s most exciting photographic competitions, founded by renowned landscape photographer, Charlie Waite.

Entrants have until the 12th of July to enter the 2015 Awards by submitting their photographs of the British landscape. The competition is open to everyone and you can enter up to 25 photographs across the four categories. The prize fund is worth £20,000, with £10,000 for the overall winner and there is also a special class for those under 17, so the whole family can get involved.

Unlike many other photographic competitions, the Landscape Photographer of the Year Awards celebrate the United Kingdom only, offering photographers worldwide the opportunity to showcase their images of this richly diverse and unique country. You don’t have to live in the UK to enter and there is a special extra prize – the Countryside is GREAT Award – offered by the competition’s sponsors for the best image from an overseas entrant.

There are categories for urban views, landscapes with people, close-up details and conceptual landscapes, as well as more classic views, so there is plenty of scope for your imagination. Every part of the UK has a unique character; from the seascapes of Cornwall and the mountains of Scotland to the quieter beauty of the Home Counties and flat lands of the East, each providing many gems for photographer and traveller alike.

The Awards are being held in association with VisitBritain and Countryside is GREAT for the second year. Jasmine Teer, VisitBritain’s Photography Manager commented: “Photographs that showcase the best of Britain play a vital role in VisitBritain’s mission: to raise our profile and inspire people all over the world to come and experience this beautiful country. We are very proud to support the Landscape Photographer of the Year Awards and hope that, as part of Countryside is GREAT, we will encourage not only UK entrants but photographers from all over the world.”

Awards founder, Charlie Waite, added: “Now, more than ever, I think we are realising how important the British landscape is to our wellbeing. The feeling that we get when we shut the office door and escape to a green space, whether it be a small park or a vast mountain, is unique and of vital importance. Our landscape is a place in which to breathe and to create. For me, landscape photography is a way to restore life’s balance and I know that many who enter the competition each year feel the same and share that emotion through their images. A photograph is a very powerful way to convey information, encouraging visitors to appreciate what Britain has to offer and to experience, first hand, the joy to be had from our landscapes.”

An exhibition of winning entries will premiere in November 2015 and around 150 of the best photographs from the competition will appear in the Awards book – Landscape Photographer of the Year: Collection 9 – by AA Publishing.

All entries to the Awards must be uploaded via the competition website, and the closing date is 12th July 2015. Entry fees apply. Full terms and conditions can be found on the site.

Complimentary 12 month subscription to the Creative Cloud up for grabs!

Adobe has joined us as a Supporter of the Awards this year. Adobe will be a awarding a complimentary twelve month subscription of Creative Cloud Complete to the creator of their favourite image from the ‘Adult Your view’ category. They will be selecting the winner from the main shortlist and, unlike all the other prizes, which are decided on by the image only, Adobe will also be looking at the technical information that you supply. The ‘Your view’ category encourages a creative viewpoint and Adobe are looking for an image that matches their vision of ground-breaking content. Matt Botwood caught the judges’ attention last year with his inverted images that created mysterious and intimate fantasy worlds. This new prize is a great reason to think laterally & see where your creativity takes you.

Fern, Ystradfellte, Brecon Beacons, Wales, UK

Fern, Ystradfellte, Brecon Beacons, Wales, UK

Travels in a Strange Land, Wales by Matt Botwood (Highly commended, 2014)

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3D Printing Webinar – Tinkerine Ditto Pro Photoshop CC

Creative Cloud Photoshop CC users now have the ability to slice 3D models direct in Photoshop for the Tinkerine Ditto Pro printer. It has never been easier to take 3D models and print to 3D Printers, especially the Tinkerine, without having to worry about the quality of the mesh or correct supports for the build process.

If you’re interested in learning more about how to utilize Photoshop for 3D-printing, join me and the folks from Tinkerine  this Thursday for an online webinar where we’ll walk through lots of new features that this integration opens up.

Details on the webinar are as follows:
Event: Photoshop for Tinkerine DittoPro
Time: Thursday June 2nd, 10:00 AM PST

All you will need are your speakers for listening and your keyboard for questions. The session will run for about an hour and then will have 15 minutes for questions and answer.

This is an open webinar so don’t hesitate to tell your friends to join too! For those of you who can’t make it don’t worry; the webinar will be recorded and put online for viewing.

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#CreativeFriday – Adding a Bump Map to a 3D surface in Photoshop CC 2015

This post extends the new Photoshop 3D features post that I posted last week. I wanted to show how to add a texture to a surface of a 3d model (a cylinder in this example), then create a 2.5D Bump map from it.

Inside Photoshop with a new canvas open, it’s easy to create a 3D object from a template object. Choosing 3D / New Mesh from Layer / Mesh Preset and choose the base object.

Screen Shot 2015-06-26 at 14.26.56The result will be a simple Cylinder

Screen Shot 2015-06-26 at 14.27.26Adding a texture to a surface in Photoshop 3D is easy.  Either click directly on the surface (marked with the red arrow), or select the surface material from the 3D panel (marked with the red box). The properties panel (Yellow) will then give access to the material properties.

The Diffuse property will define the surface material.You can change the Diffuse texture by clicking on the folder marked in green above.

This action will open the texture (if one does not exist, Photoshop will ask you to confirm the creation of a new one). Once the texture has been openede, you might seen funny black lines on the canvas, these are the UV maps. The UV map is showing you the polygons in a flat 2D orientation. The important thing here, is that the texture at each pixel point will map onto the actual texture on the 3D model, so it’s always good to see both sides.

Choosing from the Photoshop menu system Window / Arrange / 2 up Vertical will allow you to see both sides and monitor your texture progress. If you take the brush tool and select each window in turn and move the brush around, you should see the cursor which is tracking on the UV mapping references.

Screen Shot 2015-06-26 at 14.44.11

Adding a texture to the surface is simple, and to do this i’ll use an image from Adobe Stock. I would like to use some fire and i don’t have one locally, so the Stock service will be ideal for this.

From the File menu, you can choose ‘Search Adobe Stock’, then you can find an image that might work for the texture / desired effect.

Screen Shot 2015-06-26 at 14.46.52

Choosing a refernce image is free and won’t come from your allocation, and will be synced straight to your desktop applications via the Creative Cloud library, in the case below, synced to ‘2D Shapes’ library.

Screen Shot 2015-06-26 at 14.47.34The synced asset will be available in the Libraries panel (marked in Yellow), inside Photoshop CC 2015 once the sync has completed. It’s then easy to drag and drop the watermarked (For Placement Only) texture onto the texture of the surface.

Screen Shot 2015-06-26 at 14.53.31The get the image to cover the area and in the correct orientation, it can be re-sized using the standard Photoshop 2D tools.

To License the Image, you can right click on the image in the Library planel (marked in red) and a royaly free High Resolution image will be downlaoded, the water marked version will be replaced once the file has re-synced.

Screen Shot 2015-06-26 at 14.53.31v2(This technique will also work with the water marked image, the water mark will be part of the final texture, but this can all be changed dynamically later one, once the creative decisions have been made).

The texture can be saved and closed.

To create the bump map from the texture, select the surface again (from the 3D panel or by clicking directly on the model), marked in red below. This will allow editing of the material properties, at which point clicking on the Bump texture folder (marked in yellow), and choosing ‘Generate Bumps from Diffuse’  (marked in green).

Screen Shot 2015-06-26 at 15.06.27The next panel will give you creative control of the bump maps that will be generated.

Screen Shot 2015-06-26 at 15.06.50Once OK has been pressed, the bump map height can be controled by using the Bump Map slider. The results of the bump will be seen on the model on the screen.

Screen Shot 2015-06-26 at 15.12.55This object could stay like this with colour, but i’m going to remove the colour and keep just the bump maps.

To do this, the Diffuse texture needs to be re-opened. This can be done from the material properties panel (marked green), and the ‘Edit Texture’ selected (marked blue).

Screen Shot 2015-06-26 at 15.15.51One the texture has been opened, i’ve just created a new black colour layer, selecting from the menu Layer / New Fill Layer / Solid Colour / and choosing black or a dark grey (you many need to play with these colours a little, to find the optimum for your desgin).

Screen Shot 2015-06-26 at 15.15.51v3Once this has updated, the surface will be a single colour and the bump map will show through.

Screen Shot 2015-06-26 at 15.23.57The object can now be printed. In the example I have the new Tinkerine Ditto Pro selected (marked in Yelow), as well as the Min and Max displacement values (marked in red). The Min and Max displacemet values will raise / invert the hight of the bump maps on the surface of the print.

Screen Shot 2015-06-26 at 16.14.07You can see that the bump maps have been transfered to the Print output.

Screen Shot 2015-06-26 at 16.18.33

We hope you enjoy placing bump maps onto surface for either 2D or 3D models. Please get in touch if you have some interesting concepts/ prints or ideas that you would like to share.


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#CreativeFriday – Creative Cloud 2015 release – What’s new in Photoshop CC for 3D and 3D Printing?

Screen Shot 2015-06-15 at 12.26.573D/3D Printing.

The update to Photoshop CC 2015 has some great additions to the 3D and 3D Printing, this post is dedicated to these new updates and explains how to use them.

As of this release, it’s great news that we are now supporting more FDM printers and printing partners.

3D Printer Manufacturers




One of the more exciting new desktop printers we’ve seen recently is the Tinkerine Ditto Pro. We’ve been working with the folks at Tinkerine to develop a printer profile for the Ditto Pro which will be available for download on and installable into Photoshop CC. You can download the Tinkerine profile from here.

You can always get the latest printer profiles for Photoshop CC here:

3D Print Services

MyEasy3D :


Myeasy3d, are a specialised 3D Print Concepts & Services company offers 3D print solutions for B2B and B2C markets. Myeasy3D drives an online 3D print service with a wide range of materials. A customised and integrated ‘white labeled’ 3D production platform can be delivered as well. The available myeasy3d printer profile for Photoshop offers instant access to the MCOR Iris full colour 3D paper printer through the online myeasy3d print service platform.  You can download and install the MyEasy3D profile here.

You can get more information at

3D Hubs:



We have collaborated with the folks at 3D Hubs to create a suite of printer profiles for the 3D Hubs service that will allow users to print directly to service providers on the 3D Hubs network directly from within Photoshop CC. This integration brings the power of locally-based printers to every Photoshop user. The 3D Hubs profiles are shipped with Photoshop CC 2015.

You can get more information at

3D Features

Our goal on the Photoshop 3D team is to make 3D design accessible to mainstream designers and artists. With this in mind, we continue to deepen and extend the 3D capabilities in Photoshop CC to make working with 3D objects faster and easier, as well as enable Photoshop to add value to a broader range of 3D workflows.

Mesh simplification: Many 3D models consist of hundreds of thousands, if not millions of polygons. Although this complexity can provide the resolution detail required for many use cases, high polygon counts are not always required downstream. For example, many desktop 3D printers are not even able to print at a high resolution. And yet, high poly counts may slow down processing times and can even prevent models from being rendered on lower end platforms such as tablets. In response, the Photoshop team is adding a mesh simplification capability to this version of Photoshop CC.

The model below has about 4.4m Polygons, which is currently difficult to print due to it’s poly count.

Screen Shot 2015-06-16 at 22.54.38Using the Menu item 3D / Simplify Mesh, Photoshop will be able to reduce by the number of Polygons or by percentage.

Screen Shot 2015-06-16 at 22.51.17Within the dialog you can reduce the poly count, and also generate normal maps (for faux geometry).

Screen Shot 2015-06-16 at 22.53.29

N.B. to much simplification can damage the model and the textures, i tend to work on about 90%, but will be model and detail dependent.

Screen Shot 2015-06-16 at 22.54.38v2

Enhanced bumps maps: Wouldn’t it be nice to be able to automatically create a bump or normal map from an image directly within Photoshop? Just load any image – maybe a photograph that you took of an interesting texture, or a picture you downloaded from the Internet – you can now automatically generate and customize a detailed bump or normal map based on the colors and contrasts in the image. In addition, once a bump map is applied to a model, you can further control the desired effect on the surface of the printed model by adjusting the height and depth of the emboss/deboss at print time.

Take this texture that was downloaded from Adobe Market. Textures are available for use within Adobe Market when used on the Creative Cloud full plan. The texture can then be downloaded to a Creative Cloud Library (my 2D Shapes Library in my case). NB. Adobe Market is not available on all plans, please consult the terms and conditions of the plan you have subscribed to.

Screen Shot 2015-06-18 at 10.59.41Once selected for download it will be transfered to your library via the Creative Cloud Sync and the CC desktop app. The texture will then appear in your Library panel. Once the object is used, a copy (with a link back to the orignal file in the library) will be placed in your layers for the canvas.

Screen Shot 2015-06-18 at 10.16.38The texture can then be extruded,

Screen Shot 2015-06-18 at 10.16.38 v2

Once this task has completed, the texture will be applied to the front surface of the 3D object.

From here, to create the bump maps, click the folder icon on the Bump texture (marked in yellow), then choose “Generate Bumps from Diffuse’. This will take the texture from diffuse map (see textures at the top of the materials properties panel).

Screen Shot 2015-06-18 at 10.17.10A dialog will be shown, which can be used to change the detail of the bumps (rember by default white is higher in height than black, this can always be inverted here, but also in the resulting layer). The bump map will not only affect the black and white tonal range, but also the colours in the image as well. This can be interesting when applied to Photographs (blog post coming soon).

Screen Shot 2015-06-18 at 10.17.29

Once OK is pressed, the bump map will be loaded into the Bump texture, and the bump slider can be increased to show the faux bumps.

Screen Shot 2015-06-18 at 10.17.47

Once this has been done, the object can be resized and configured on the 3D Print settings panel (marked in red). The properties for the size of the bumps are controlled by the min and max values within the panel (marked yellow). Values can be as low as 0.1 and upwards. You will see in the preview window (middle of the screen) an update of the min/max values when they are changed.

Screen Shot 2015-06-18 at 10.20.33Once the print button is pressed, the bumps and the new geometry will be shown in the print preveiw window.

Screen Shot 2015-06-18 at 10.21.34

Re-creating Vertex Color: Many 3D models, particularly those that have been captured using a 3D scanner, often include vertex-based color. In this release of Photoshop, you will be able to quickly convert vertex color on a 3D model to a texture, after which you could invoke the full power of Photoshop CC to modify and personalize the texture.

Upon opening a model, open th texture of the object (Textures are availabe on the 3D menu and are indented from the mesh), Within the properties panel, the material can then be opened and edited (marked in Red).

Screen Shot 2015-06-16 at 23.18.53

Once the material is open, select 3D menu / Create Overlay / Vertex Colours, the colour texture can then be re-created direct from the Vertices.

Screen Shot 2015-06-16 at 23.26.55 The result should be the colour textures.

Screen Shot 2015-06-16 at 23.22.21The model should update once the texture has been saved.

Screen Shot 2015-06-16 at 23.30.43

Print to 3D PDF and SVX: We’re adding two new data types to the 3D printing pipeline, 3D PDF and SVX. We added the ability to export a layer as a 3D PDF in October 2014. Now,in this release, you’ll send your model to “print” your model to 3D PDF. This means your model will be run through the 3D printing pipeline, which checks the model for printability and makes any necessary corrections before the 3D PDF file is created. The resulting file will be ready-to-print, meaning 3D PDF can now be used more efficiently for print job submissions. We’ve also added a similar print pipeline for the new SVX data format. Learn more about SVX here:

The output to SVX is below the current output to PDF and STL. The physical output will be a ZIP file in the chosen file location, and it will contain RGB colour slices of the model.

Screen Shot 2015-06-16 at 23.31.44Once the mesh has been reparied, the preview will be displayed. Export will create the 3D PDF.

Screen Shot 2015-06-16 at 23.46.20Final result in the PDF.

Screen Shot 2015-06-16 at 23.47.44


We hope you will enjoy and take advantage of the new 3D capabilities we will be adding to Photoshop CC.




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Creative Cloud 2015 – What’s new in Lightroom CC/6.1 for Photographers?

Lightroom CC 2015 /6.1 received an update this morning as part of the Creative Cloud 2015 release.

Camera Raw 9.1 is now available through the update mechanism in Photoshop CS6 and Photoshop CC.

As mentioned here, updates to Camera Raw for Photoshop CS6 only include new camera support, lens profile support, and bug fixes.  The new features listed in the release notes are only available in Photoshop CC.

New Features for Lightroom CC

  • Dehaze
    • Many outdoor scenes have some amount of haze due to atmospheric conditions. Dehaze is a new feature for removing/adding haze and fog from pictures. The user can control how much haze to remove by adjusting a new slider in the Effects panel in the Dehaze section. This feature can also be used in the other direction to increase the amount of haze.
    • TIP. Adjust the white balance of the image before applying the Dehaze control.


Applying haze for a creative effect

Reducing haze from a picture

Screen Shot 2015-06-16 at 11.40.54

  • Ability to change the White and Black Adjustment Sliders on local adjustments
    • The tools:  Gradient Filter, Radial Filter and Local adjustment brush all now have the ability to control the White and Black point as local adjusments. This control is useful for fine-tuning tonality near the brightest and darkest parts of the picture. For instance, they can be used to increase the contrast of highlights.
    • TIP – Make your global adjustments first and then use the local adjustments to fine tune.  Use the clip warning indicator to help avoid clipping highlights and shadows.

In the following image I would like to focus the viewer on the petrol pump and the sign post. This is easy to do when i have the radial filter and now the white and black controls as local adjustments.

Screen Shot 2015-06-16 at 11.30.34

I can pull a radial filter in to cover the areas were I would like to apply the adjustments (The mask is clearly visable once it’s turned on using the ‘Show Selected Mask Overlay’ at the bottom of the main view panel, or if the cursor is hovered over the adjusment area).  Notice the mask is inside the Radial filter, this is acheived by turning on the ‘Invert Mask’ check box.

Screen Shot 2015-06-16 at 11.31.13

Once the Radial filter has been applied, the White and Black point can now be changed to increase contrast in the masked area(s).

Lightroom on iOS:

  • Video support:  You can now import, and sync your iPhone and iPad created videos from Lightroom on iOS to the web and desktop.
  • More adjustment tools
    • Vignettes
    • Adjust the Color channel and B&W mix
    • Tone Curve

New Camera Support in Camera Raw 9.1

  • Fujifilm X-T10
  • Nikon 1 J5
  • Nikon D810A
  • Panasonic DMC-G7
  • Pentax K-S2
  • Pentax K3 II (*)

*Preliminary support.  The multi-shot Pixel Shift Resolution and HDR features are still under investigation.

New Lens Profiles in Camera Raw 9.1

Mount Name
Canon Canon EF 50mm f/1.8 STM
Canon Canon EF 400mm f/4 DO IS II USM
Canon Tokina AT-X 11-20mm f/2.8 PRO DX
Leica Voigtlander VM 15mm f4.5 Super Wide Heliar III Aspherical
Nikon Nikon 1 NIKKOR VR 10-100mm f/4-5.6
Nikon Nikon 1 NIKKOR VR PD-Zoom 10-100mm f/4.5-5.6
Nikon Nikon AF NIKKOR 85mm f/1.4D IF
Nikon Tokina AT-X 11-20mm f/2.8 PRO DX
Pentax HD PENTAX-DA 18-50mm f/4-5.6 DC WR RE
Pentax HD PENTAX-DA L 18-50mm f/4-5.6 DC WR RE
Pentax HD PENTAX-D FA 150-450mm f/4.5-5.6ED DC AW
Sony Alpha Sony 16-35mm f/2.8 ZA SSM II
Sony Alpha Sony 24-70mm f/2.8 ZA SSM II
Sony Alpha Sony 70-300mm f/4.5-5.6 G SSM II

Fixed Bugs:

Sometimes in high contrast areas colour bleeding could occur. The image below has areas of high contrast, especially in where blur meets red.

Screen Shot 2015-06-16 at 11.57.36Zooming into the railings around the lighthouse, evidence of some blurryness can be seen.

Screen Shot 2015-06-16 at 11.57.46In the latest update, this has now been fixed and the results are spectacular.

Screen Shot 2015-06-16 at 11.57.46v2

  • The “Remove Chromatic Aberration” checkbox is now enabled by default for all Fujifilm cameras.
  • Fixed crash when reading some JPEG images.
  • Fixed bug where Camera Raw Filter would incorrectly show a soft-proofed image.
  • Improved quality of display color management on some wide-gamut displays when GPU acceleration is enabled.
  • HDR and Pano Merge: Cleared in-camera crop before merging rather than destructively applying it prior to merging.
  • Pano Merge: Fixed a Pano blending issue specific to Leica M9.
  • Fixed a bug with Panasonic LX100 – extended ISO 100 was too bright and Magenta Highlights have been fixed.
  • Fixed a bug with Nikon Coolpix P7800 NRW raw files that showed only Matrix as camera profile.
  • Fixed crash when reading some JPEG images
  • When enabling “Before/After” preview in the Develop module, the screen flickered before showing the Before preview. This only occurred when GPU was enabled
  • Lightroom starts slowly, any attempt to do something results in the blue spinning-wheel and “Not Responding” when connect to LAN without LAN/internet connection
  • If a catalog is too large, the zipped backup can’t be unzipped
  • Export creates erroneous Invalid Constraint Size Error

Download Links

Camera Raw 9 – Please use the update mechanism in Photoshop CS6 and Creative Cloud app.

Don’t forget that the DNG Converter (9.1) is also avilable for: Mac | PC. The DNG convertor is useful when you would like to use a RAW format for archive purposes, or if you would like to open RAW files from cameras which maynot be supported in older versions of the software.

Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application, please refer to the following plugin installation:


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Creative Cloud 2015 – What’s new in Photoshop CC for Designers?

Screen Shot 2015-06-15 at 12.26.57Adobe Stock

Adobe Stock is a new market place for stock photography, Adobe stock has over 40 million high resolution, curated relevant photos, vector graphics and illustrations and it’s available via the Desktop apps for use inside your compositions. To get an update on how Adobe Stock works and subscription plans, please refer to the What’s new in the Photography blog post.



A brand new feature that has been desgined to support designers that use Photoshop to create web and mobile desgins inside Photoshop are likely to enjoy the new Artboards. Artboards in Photoshop work similarly to how they work in illustrator. A single Photoshop document can have many Artboards, which is great for different renditions of the same thing, different states, different art works, or anything 2D.

Artboards are accessed from the move tool (marked in red below), and exist as an active area on the canvas (marked in pink). The Artboard is a new layer type which will sit within the Layers panel and content within it will be contained within it.

Screen Shot 2015-06-15 at 21.41.47Content within the Artboard can be shared by the use of Smart Objects which have been inserted from the Libraries panel (this will be covered in an upcoming #CreativeFriday post).

Artboards can be created once the Artboard move tool has been selected. A template can be chosen from the pull down list (green), or entered manually. Also, the tools (marked in Pink) can be used to draw out an Artboard (Artboards can be modified even when created from a template). The Artboard can be seen marked in Red below.

Screen Shot 2015-06-15 at 21.51.01

Export Dialog

The Export As menu item has been completely re-deisgned to offer an much more efficient and streamlined experience, as well as supporting the new Artboards. Export As is avaiable under the File / Export / Export As menu option.

Screen Shot 2015-06-15 at 21.59.16Once Export As has been selected it will show what has been selected and will be exported.

i.e. If at the top level of the document, the whole composition will be exported

Screen Shot 2015-06-15 at 22.01.20If a group or layer etc is selected, then this will be exported as an entity.

Below, the group of Fashion is selected (red), then a right click on the layer is used to Export As (pink).

Screen Shot 2015-06-15 at 22.07.33Export will only show this one section from this one Artboard in this case (shown below). Multiple export formats are available from this panel.

Screen Shot 2015-06-15 at 22.09.29

Export options and preferences can be chosen from the Export options on the Export As dialog box, or from the menu item File / Export / Export Preferences.

Screen Shot 2015-06-15 at 22.15.00

Layer Styles

Multiple layer styles can now be added to an object in the Layers panel. In the following example a double stroke can easily be added to the letter. In the following example, the first layer effect (created from the icon marked in red) is applied (marked in yellow) to the object. The properties of the white stroke is defined in purple.

The second stroke is black and is defined the same way but black and is second in the applied order.

Device Preview

Your Photoshop comps can now be sent direct from your canvas to your mobile device, by using the new Device Preview app on the iOS device.

There is a new window in Photoshop, Device Preview (available under the Window menu item).1Connecting a device is easy, WiFi or USB direct cable can be used. You may say that there are many apps on the market, why is this different. The connection process is very simple and works without having to fiddle any properties, plug in or connect to the same network (all devices must be able to see each other of course) and Photoshop will find the device(s). Multiple devices can be connected at any one time.


Once the connection has been found, it will be shown in the Device Preview panel in Photoshop.

2Once the connection has been found, device preview on the iOS device will do one of a couple of things. If there is a single canvas or Artboard in the comp, device preview will show this. If there are multiple Artboards on the canvas and they match the format of the device that is connected, they will be selected and shown in bold on the device. Otherwise, if Artboards do match the format of the screen they will be resized to the format of the connected device.

3_Before Any updateOnce a change is made, it will be refelected immediatly on the device(s) that are connected.

3_Before Any updatev2It’s worth pointing out that you are now able to apply an image adjustment on a Smart Object and it will be applied as a non destructive edit (adjustments are applied the same as layer effects, as shown in purple above).

3_Before Any updatev2Design Space

Design space is a new concept designed for the needs of the modern screen or we desginer in mind. It’s purpose is to give everything to the desginer and the power of desgin without having to open many menus or move the mouse in long distances. Design space is available under the Technology previews.

Screen Shot 2015-06-16 at 00.03.49Design Space welcome screen.

Screen Shot 2015-06-15 at 15.39.38

Screen Shot 2015-06-15 at 15.39.41

Screen Shot 2015-06-15 at 15.39.43

Screen Shot 2015-06-15 at 15.39.46

Once Design Space has been selected the Photoshop CC interface will change to a much more stream lined, focused environment.

Just a couple of pointers. When at the top point of the Artboard document, Create new Artboards indicators are shown around the document.

Screen Shot 2015-06-15 at 15.40.26CMD+Double Click on an item in the workspace will directly select the element, otherwise a click will logically drill down the heirachy (Escape can be used to go back up the element tree).

Screen Shot 2015-06-15 at 15.40.34Design Space is a very early preview so the end to end workflows are not there yet, but we welcome any feed back from our community which will enhance this technology.

Screen Shot 2015-06-15 at 15.39.49

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Creative Cloud 2015 release – What’s new in Photoshop CC for Photographers?

Screen Shot 2015-06-15 at 12.26.57

The Creative Cloud 2015 has now arrived and hopefully you have started to look at all of the new features and how they can enhance and turbo charge your current workflows. I just wanted to go through the new features new capability’s in Photoshop CC 2015 so that you can start to explore them. There will of course be more detailed deep dives over the up coming weeks.


Adobe Stock

Adobe stock is a new market place with over 40 million royalty free high quality, curated, relevant Photographs, Illustrations and Graphics that are available and are free for use in placement only sections of your work. There are also some great subscription plans to turn the placement only versions into High Quality licenses that can be used for your final compositions.

Adobe Stock search is available from within Photoshop, Illustrator, In design as well as the video apps. Within Photoshop, there are Search Adobe Stock under the file menu (marked in red below), as well within the Libraries panel (marked in Blue).
Once the Search Adobe Stock has been selected, the Adobe Stock website will be shown in your default browser.
Searching on a keyword (as in Nepal Hiker above), will filter the images found and present in a clean interface allow you to download or buy the image
Each image has a downward arrow, this is where you can download the watermarked version for your work in progress via a Creative Cloud Library. There is also the option to buy and license the image by using the cart with a + above it.
Clicking directly on the image will show more details about it.
 (The same options to either download the watermarked version or to buy and license are also available here.)
Once the Creative Cloud library has been chosen the Creative Sync and the Creative Cloud Desktop application will take care of the rest and automically download it into your Creative Cloud Libraries panel (marked in red below).
The Assets will then be available for placement in your documents. When the Library graphic is placed into your document it will be placed by linking to the original asset. This is represented in the layers panel by the cloud icon on the layer (marked in red below). This is essentially a smart object and adjustments can be made to it as per usual. Although it’s worth pointing out, you can now make an adjustment using Image / Adjustments to Smart Objects and they will be made as a non destructive edit.
 The image / adjustments is shown below. Also marked in yellow is the way that the adjustments are attached to a Smart object and are completely re-editbale.
 Once the image is ready, and are ready for purchase. A right click on the asset in the Library panel will bring up the license image option. At this point the license will come off your plan and a high resolution image will overwrite the placement only watermarked image. The benefit of the Smart Object Link, is that any adjustments that were made to the watermarked image, will also be applied to the high quality image, instantly (keeping the non destructive quality).
Buying Adobe stock is also super simple and highly affordable
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Creative Cloud Libraries
The efficiency of Creative Cloud Libraries has been increased, Creative Cloud libraries now exists in the main desktop apps (AI, ID, PS and the video tools). The Libraries are now a shared resource between the applications and once the Creative Cloud sync has completed, each app will get the asset. This means that the Creative Cloud sync only has to execute once for each activity across all desktop apps.
Creative Cloud Libraries & Sharing of Assets
When a Creative Cloud Library is shared with a colleague or a team, the assets within there become sharable as well. By default when an asset is used from the library, the content is link to the shared asset, rather than being embedded into the document that it’s being used by. This essentially means that the asset this exists on the Library will be a single source of truth. If some one else in the team, subsequently changes the asset, then Photoshop will update the layers where it’s being used and the user can then decide to take the changes into their document.
In the following example, a background has been created by painting with the paint bucket. This object is then dragged into a Creative Cloud Library. The Library is shared (it’s easy to share a library, clicking on the Library fly out menu and choosing collaborate, will take you to the Creative Cloud Collaboration screen within your browser, and allow you to place an Adobe ID email address in there. The person invited will then receive a notification that they have been included in a share folder).
 Once the content is shared, it can be change by the any user, as simply as right clicking on the asset and choosing edit (marked in red below). The contents of the asset will then be loaded into Photoshop, ready for changing.
The contents can then be changed and saved. The save will update the asset in the share, then will replace the change across the Creative Cloud into the hands of the other collaborators.
For people sharing the asset, the layer will be changed to include a notification (marked in red) as well as a notification on the layer properties (marked in yellow). It’s easy to update the contents from the source. clicking on the exclamation mark on the properties panel will open the ‘fly out menu’, selecting ‘Update Modified Content’ will update this content shown with the new updated content.
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Dehaze in Adobe Camera RAW and Lightroom CC
Sometimes a scene that is captured is hazy, or even the Photographer may want to add haze to an image.
 The de-haze can be used to add haze to the images
The de-haze can be used to remove any haze from the images

Noise and Blur gallery

The Blur gallery tools have been degined to create subtle in camera lens focus effects. This new addition of adding noise into the blur will help make noisy images from the camera more realisatic when Blur Gallery effects are being applied.

Let us take this example image, it has a bit of gain (added in Lightroom), but in my opinion has too much Depth of Field. This is a great example of when to use the Blur Gallery effects.


Screen Shot 2015-06-15 at 10.33.18There are different Blur effects that can be used, but for this example, I think the Iris Blur will give me the desired results.

You can see from the following screen shot, the inline widget has been placed and the blur has been increased to give the desired effect. However, the blur has smoothed any grain from the orginal image and can in some circumstances look un natural.

Screen Shot 2015-06-15 at 10.34.07Increasing the Noise grain amount (other options extend to Gausian and Uniform), as well as other creative options on the Noise panel.

Screen Shot 2015-06-15 at 10.34.18


Photography re-touch tools in Photoshop have been given a performance boost, some of the listed tools, performance gains of upto 120x have been made.

  • Content Aware Patch and Spot Heal – Performance improvement
  • Healing Brush – Real time healing
  • Content Aware Extend/Move – Transform on drop

Healing Brush – Real time healing

The Healing brush is now realtime, any areas that are removed and cloned from other areas of the image will be applied in realtime.


Content Aware Extend/Move – Transform on drop

The ability to move or extend an object in a scene and have Photoshop remove the original area and replace the moved object has been in Photoshop since CS6. But now, inside Photoshop CC 2015, you have the option to transform the re-placed object on the drop.

Maybe the boats need moving to the other side and placed in a different direction.

Screen Shot 2015-06-15 at 15.37.21Selecting Photoshops Content Aware Move and Extend tool, just as before, the area for moving is selected. But now there are transform handles on the moved content.

Screen Shot 2015-06-15 at 15.37.42The moved component can be resized, or it’s orientation changed by right clicking on the transform handles

Screen Shot 2015-06-15 at 15.37.49The object is then moved and the original place is removed.

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Panoramic Content Aware Fill

Photoshop’s Panoramic feature has received a great improvement, it now has the capability to automatically fill in any transparent areas that are created as result of the blend. This feature can improve the old multistep technique by be being more efficient as well as better results (as Photoshop is already aware of the edges that it needs information about).

Here are a few HDR images that i’ve already created from a set of 3, 1 stop each bracket exposurses.  There were already 15 images processed into 5 HDR images.

Screen Shot 2015-06-15 at 11.18.15From Lightroom it’s easy to open and take into Photoshop’s panoramic engine. A right click on the selection of iamges that will be used for the Panoramic, allows Lightroom to hand off to Photoshop to create the Panoramic.

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(or Bridge)

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Inside Photoshop 2015, there is now a ‘Content Aware Fill Transparent Areas’ check box on the Panoramic option.Screen Shot 2015-06-15 at 11.30.48


The Creative Cloud 2015 update will be default remove older applications. If you would like to preserve the older applicaitons, then turn off the remove options on the Advance tab of the Creative Cloud Update Desktop application screen.






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#CreativeFriday – Load Strava GPX track logs straight into Lightroom CC and tag your GPS tagged Photographs

Recently I was away on a cycle trip to Provence in France. The itinerary was going to take us from Avignon to Cassis to see the sea. I decided to take just one camera with two lenses, as well as my iPhone to track our progress and route with Strava. I made sure that I also took my GPS grip for my main camera, as I like to have the location data embedded in the RAW images, so then I can re-track my steps if required, or add context to where the pictures were taken once I get back to the home computer (iPhone also has GPS coordinates embedded into it’s photographs as well).

GPS just takes the guesswork out for location hunting and makes image searching and archiving much simpler (in my opinion).

Just taking a trip down memory lane, I’ve recently been scanning some images in from one of my first ever self supported cycle ride in Iceland that I rode in 1993. I soon realised that I could not remember were I took the pictures, so adding context to the images, is just hard work. So when I had a chance to add a GPS grip on my digital camera, which records the GPS location as the picture is being taken, I jumped at the chance. Now it’s on the camera all of the time, and I never forget where the picture was taken (just need to make sure the GPS grip has a satellite fix of course). As an aside, Lightroom (which we’ll talk about in a second), can also use the GPS location data and match/fetch any associated village, city name and district information and populate it directly into the pictures metadata. This is a huge time saver and allows more accurate location names, so then I can find the pictures at any time, using different sorting/selection options.

When i’m processing my images in Lightroom I always refer to location of the photo on the map in the map module, as it reminds me of the scenery that I was seeing at the time and places everything back into context. It also gives me a reference point for any stories that I may want to refer to when I publish a set of images later on.

So here I am sitting with my new Photographs that I took in France, from both my iPhone using Lightroom mobile in conjunction with the inbuilt camera, as well as my RAW files from the trip, and I suddenly think, that it would be great to marry up my Strava GPS data with my photos to complete the experience. I immediately tried it, and guess what, it works really well. So this blog post is dedicated to taking your Strava data (this solution might be posisble with other with other vendors as well, you will just need to hunt around their application to find the GPX track logs, but the Lightroom approach will be the same), then importing it into Lightroom and tagging photographs from a GPS enabled digital camera and my GPS enabled iPhone from along the route.


1. First of all, all RAW files are imported into Lightroom (i’m not going to explain this bit as part of the post, as i’m sure you can already do this 😉 ).

2. Images are imported from my iPhone to Lightroom by using Lightroom mobile. Once the phone images have synchronised to the Creative Cloud and into Lightroom desktop, they can then be moved and tagged with keywords into a safe external drive location (these keywords will allow finding of these images that were taken on the trip, including the digital camera images as well if required).

3. Head to Strava (or your favourite cycling/tracking site).

When inside (in this case Strava), head over to your ride data and click on the spanner icon (marked in Red), then click on the Export GPX data.  This will output and save a .gpx file to your computer.

4. Head over to Lightroom and move into the Maps module (as shown below). Then click on the GPX icon (marked in red) and choose “Load Tracklog”. This action will open a file dialog, select the .gpx file that was downloaded from Strava, and Lightroom will import the GPX data and overlay the route on to the Lightroom map.

Screen Shot 2015-06-11 at 21.24.12A blue line will appear on the map, this is the route that was recorded. Of course the time is also recorded and will be shown when the cursor is hovered over the route.

Screen Shot 2015-06-11 at 21.28.22

5. Now let us associate the images that were taken on the phone, as well as from the camera with the GPS grip. The images have been selected from the library(s) and then Lightroom is moved to the Map module. Clicking on the GPX icon (marked in red). This give the option to  auto tag the images to the map and link them to the track log.

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6. As you can see we now have both the GPX route data, as well as any Photos that were taken along the route, as well as any photos that were taken at the destination. There are several selection options and other ways to select the images that are worth exploring.

Screen Shot 2015-06-11 at 22.11.17

Of course once the GPX logs are loaded into Lightroom, they are accesible from the GPX icon at the bottom of the Map module. Selecting a different log, will load in the data and zoom into the route.

This also applies to any running data that might have and would like to match up the photos that may have been taken.

I hope you enjoy using Strava with Lightroom, and are able to see where the pictures were taken, and re-live those wonderful memories.


If you are new to Lightroom, then Adobe has some great tutorials on Youtube, as well as my dedicated Lightroom how to page on this blog or on my YouTube channel.

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Unlocking The Power of 3D for The Creative Community – Adobe Acquires Mixamo

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Mixamo joins Adobe to unlock the power of 3D for the Creative Community, read more on the offical Creative Cloud blog post.

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#CreativeFriday – Photoshop CC’s Content Aware Tools – Structure and Colour Controls

Sometimes within an area of an image, there is a section that needs to be cleaned up. Normally, this is simple, but on some occasions it runs through a gradient. An example of this is in a sky or some simple foreground texture like grass or sand/beaches etc.

Before the release of CC 2014 these areas could be fixed with the Clone Heal tool, but you had to spot the source area and make sure it’s inline with the destination. The Clone/Heal tool is amazing, but can take up precious time, sometimes speed is required.

In Photoshop CC 2014 an additional colour feature was added to the Content Aware tools in Photoshop. The colour feature now means that when the content aware tools are fixing area that contain gradients in tone, they can be tuned to recognise the colour shifts and take them into consideration, as part of the automatic fix.

Here is an example.

I’ve recently been scanning images into Lightroom from a 1995 cycling trip to Iceland. This particular image was taken on colour negative, and was taken in the North West of the island.

Screen Shot 2015-05-29 at 20.50.14

There are a few things in the lower area that are not quite right and ideally need to be removed. For example, the shower block, the single tent and car, as well as the gravel path.

Of course getting rid of these areas is quite simple, however, if you notice there isn’t a lot of grass to clone from, also the tones in the potential candidates of grass are a combination of light and dark areas. This can cause us a problems, and cloning of these areas we need managing.

The Content Aware Patch tool (as well Content Aware Move and Extend, Edit / Fill (under colour adaptation)), have the capability to replace areas of content and examine and source/destination and attempt to match the colours, even if the source areas are darker or lighter than the destination (across a gradient).

In this first example it’s quite simple to replace the area of the three pipes with the ‘Content Aware Patch Tool’, as there are similar colours and textures around it. The structure value is set to 1 and the colour is set to 0. Notice that i’ve created an empty layer above the image and the ‘Sample All Layers’ is turned on. This technique will allow me to keep the file size nice and small (so the changes can be saved for future use/reference), as well as employing a non destructive editing technique. At any point in time, the empty layer can be adjusted using the standard layer controls (like opacity), or turned off. In the example, the area around the three black pipes has been selected for removal.

Screen Shot 2015-05-29 at 20.50.46

When the selection is moved to an area near by, the contents are replaced.

Screen Shot 2015-05-29 at 20.50.54

The same is applied to the concrete area between the three pipes and the shower block.

Screen Shot 2015-05-29 at 20.51.19

Getting rid of the shower block is more tricky. The area is selected as previously, then another similar area is selected in the scene. However, the greens are not quite the same, they are tending to be darker or lighter in tonality.

Screen Shot 2015-05-29 at 20.51.33

The first sample is taken from the left of the scene and the Content Aware Patch tool is set to Structure 1 and colour 0. The result of the patch doesn’t seem to fit in the scene very well, because the tones from the destination are different. New values in the structure and colour can be entered while the patch is still active, the contents will change once the processing has completed.

Screen Shot 2015-05-29 at 20.51.46

If we increase the values of the Content Aware Patch to Structure 1 and colour 3, the patch is better and seems to blend in to the scene.

Screen Shot 2015-05-29 at 20.52.20If we try a larger value in 7 in colour, the result isn’t great.

Screen Shot 2015-05-29 at 20.53.15

From the samples above, the version for colour value 3 is selected. Additional blending can be made to using the Healing Brush tool and takes just a few seconds, this gives the realistic effect, which is what we are looking for.

Screen Shot 2015-05-29 at 20.56.11

The other area that is tricky is the car and tent. The areas of water around it are light and dark and using a standard structure and colour configuration, the result will be very obvious (as shown below).

Screen Shot 2015-05-29 at 20.57.19

A few changes of the structure and colour values can be tested. The values of structure 3 and colour 5 have been used to blend in the destination area.

Screen Shot 2015-05-29 at 20.57.45

Other areas can be replaced using the same technique and sampling from different areas, and modifying the Structure and Colour values as appropriate.

Screen Shot 2015-05-29 at 21.00.00

The gravel path can be replaced using one of couple of ways. One is to select it’s complete width and sample from a similar areas. If no other area is long enough, then the path patching can be broken up into multiple pieces. Also, the Content Aware Move and Extend have the Structure and Colour controls, so this tool can be used also.

Screen Shot 2015-05-29 at 21.03.33

A few samples and a bit of trial error later using different techniques, but all based on the Structure and Colour controls result in a pretty good blended grassy area

Screen Shot 2015-05-29 at 21.10.45

The resulting left area is still a little patchy and can be replaced with an area to the right of it. This sample is shown below. Using the Structure and Colour values (in this case 1 and 3) will give a reasonable patch.

Screen Shot 2015-05-29 at 21.21.23

Now that the patches have been completed, it would be a shame to loose them. Of course some image editors don’t mind this. This image can be flattened and the modifications blended into a single image, or actually, my preference is to preserve the layers with a  non-destructive technique. I would convert the three layers to a Smart Object. To do this, select the layers that are to be placed into the Smart object, then right click on them and select ‘Convert to Smart Object’.


Screen Shot 2015-05-29 at 21.23.20

Once completed, the image can be cropped and rotated into position (the horizon line is a little wonky).

Screen Shot 2015-05-29 at 21.24.38

Now that the cropped image is within a Smart Object and the foreground is clean, the editing of the image can commence. Because I came into Photoshop from Lightroom, i’m not going to go back to Lightroom to complete the edit. I want to keep the adjustments in Photoshop, just in case i need to edit them later. If I go back into Lightroom, then the Lightroom adjustments will flatten the PSD.

To do this, i’m going to use the ‘Camera Raw Filter’ (available under the Photoshop menu / Filter / Camera Raw Filter.

Screen Shot 2015-05-29 at 21.25.03

I can now work on the sky with a graduated filter and bringing the exposure down, exactly as I would in Lightroom.

Screen Shot 2015-05-29 at 21.25.51

Of course the exposure comes into the mountain on the right hand side, therefore, i’m going to use the new brush control (marked in Yellow), that is available on both the radial and the graduated filter to customise the mask.

With the brush, new areas of mask can be selected by using the + (marked in pink) or can be removed by using the – brush (by default the brush is set to – (remove), and using the alt key, can be switched to +(add mask)).

Screen Shot 2015-05-29 at 21.26.26

It’s always worth while checking the image for dust spots, or as this is a scan, hairs and scratch marks from the negative.

The Clone/Heal tool is available on the Camera Raw filter (marked red below). The visualise spots (marked in yellow), will allow seeing of any oddness (the slider next to the visualise spots check box is the tolerance slider and can be used to increase or decrease the frequency settings).

Screen Shot 2015-05-29 at 21.28.48

The round mark (halo) that can be seen can be removed using the Clone/Heal tool. But i’m going to demonstrate the non-destructive quality of the Smart Object.

To do this, click OK and return to Photoshop and apply the Camera Raw adjustments. The area of concern is marked in Yellow below. To make the adjustment on the original layers (held within the Smart Object), double click the Smart Object layer, marked in red below.

Screen Shot 2015-05-29 at 22.35.19

This will open the original layers into a new canvas, this contains the original layers.

To fix the area, I would create a new layer (marked purple), similar to the way that the original layers that hold the previous fixes were made. This new layer will contain any new fixes. The ‘Content Aware Patch’ tool is selected (marked in red), then the area (yellow) is selected and replaced. A low Structure and Colour value are used to make sure that the new area blends seamlessly into the original position.

Screen Shot 2015-05-29 at 22.38.47

Once completed, just a save and a close of the canvas, this will update the original layer. Any adjustments will be sent to the canvas and if there are any Smart Objects, and filters, they will be updated as part of this process.

You can see that in just a 20 minute process, the image looks completely different from the original version that came from the scan.

Fixed Version

Screen Shot 2015-05-29 at 21.34.35



Original image

Screen Shot 2015-05-29 at 22.45.14

With a final touch of Black and White and a custom Platinum tone, the image can be turned into a moody Black and White image.

Screen Shot 2015-05-29 at 23.13.37


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